The following is a list of notable actors who have appeared in Royal Shakespeare Company productions and at Stratford.

Contents

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

Y

Related Research Articles

<i>Hamlet</i> Tragedy by William Shakespeare

The Tragedy of Hamlet, Prince of Denmark, often shortened to Hamlet, is a tragedy written by William Shakespeare sometime between 1599 and 1601. It is Shakespeare's longest play. Set in Denmark, the play depicts Prince Hamlet and his attempts to exact revenge against his uncle, Claudius, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother. Hamlet is considered among the "most powerful and influential tragedies in the English language", with a story capable of "seemingly endless retelling and adaptation by others". It is widely considered one of the greatest plays of all time. Three different early versions of the play are extant: the First Quarto ; the Second Quarto ; and the First Folio. Each version includes lines and passages missing from the others.

<i>Macbeth</i> Play by William Shakespeare

Macbeth is a tragedy by William Shakespeare. It is thought to have been first performed in 1606. It dramatises the damaging physical and psychological effects of political ambition on those who seek power. Of all the plays that Shakespeare wrote during the reign of James I, Macbeth most clearly reflects his relationship with King James, patron of Shakespeare's acting company. It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy.

<i>Romeo and Juliet</i> Tragedy by William Shakespeare

Romeo and Juliet is a tragedy written by William Shakespeare early in his career about the romance between two Italian youths from feuding families. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed. Today, the title characters are regarded as archetypal young lovers.

<span class="mw-page-title-main">William Shakespeare</span> English playwright and poet (1564–1616)

William Shakespeare was an English playwright, poet, and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.

<span class="mw-page-title-main">English Renaissance theatre</span> Theatre of England between 1562 and 1642

English Renaissance theatre, also known as Renaissance English theatre and Elizabethan theatre, refers to the theatre of England between 1558 and 1642.

<i>King John</i> (play) Play by Shakespeare

The Life and Death of King John, a history play by William Shakespeare, dramatises the reign of John, King of England, the son of Henry II of England and Eleanor of Aquitaine and the father of Henry III of England. It is believed to have been written in the mid-1590s, but it was not published until 1623, when it appeared in the First Folio.

<span class="mw-page-title-main">Royal Shakespeare Company</span> British theatre company

The Royal Shakespeare Company (RSC) is a major British theatre company, based in Stratford-upon-Avon, Warwickshire, England. The company employs over 1,000 staff and opens around 20 productions a year. The RSC plays regularly in London, Stratford-upon-Avon, and on tour across the UK and internationally.

<span class="mw-page-title-main">Globe Theatre</span> 16th/17th-century theatre in London

The Globe Theatre was a theatre in London associated with William Shakespeare. It was built in 1599 at Southwark, close to the south bank of the Thames, by Shakespeare's playing company, the Lord Chamberlain's Men. It was destroyed by fire on 29 June 1613. A second Globe Theatre was built on the same site by June 1614 and stayed open until the London theatre closures of 1642. As well as plays by Shakespeare, early works by Ben Jonson, Thomas Dekker and John Fletcher were first performed here.

<span class="mw-page-title-main">Chronology of Shakespeare's plays</span> Possible order of composition of Shakespeares plays

This article presents a possible chronological listing of the composition of the plays of William Shakespeare.

<span class="mw-page-title-main">Royal Shakespeare Theatre</span> Theatre in Stratford-upon-Avon, England

The Royal Shakespeare Theatre (RST) is a grade II* listed 1,040+ seat thrust stage theatre owned by the Royal Shakespeare Company dedicated to the English playwright and poet William Shakespeare. It is located in the town of Stratford-upon-Avon – Shakespeare's birthplace – in the English Midlands, beside the River Avon. The building incorporates the smaller Swan Theatre. The Royal Shakespeare and Swan Theatres re-opened in November 2010 after undergoing a major renovation known as the Transformation Project.

<i>Sir Thomas More</i> (play) Elizabethan play likely worked on by Shakespeare

Sir Thomas More is an Elizabethan play and a dramatic biography based on particular events in the life of the Catholic martyr Thomas More, who rose to become the Lord Chancellor of England during the reign of Henry VIII. The play is considered to be written by Anthony Munday and Henry Chettle and revised by several writers. The manuscript is particularly notable for a three-page handwritten revision now widely attributed to William Shakespeare.

<span class="mw-page-title-main">Michael Pennington</span> British actor (born 1943)

Michael Vivian Fyfe Pennington is an English actor, director and writer. Together with director Michael Bogdanov, he founded the English Shakespeare Company in 1986 and was its Joint Artistic Director until 1992. He has written ten books, directed in the UK, US, Romania and Japan, and is an Honorary Associate Artist of the Royal Shakespeare Company. He is best known for his role as Moff Jerjerrod in the original Star Wars trilogy film Return of the Jedi.

<span class="mw-page-title-main">Jonathan Bate</span> British author, scholar and critic

Sir Andrew Jonathan Bate, CBE, FBA, FRSL, is a British academic, biographer, critic, broadcaster, scholar, and occasional novelist, playwright and poet. He specializes in Shakespeare, Romanticism and ecocriticism. He is Regents Professor of Literature and Foundation Professor of Environmental Humanities in a joint appointment in the Department of English in The College of Liberal Arts and Sciences and the School of Sustainability in the Global Futures Laboratory at Arizona State University, as well as a Senior Research Fellow at Worcester College, Oxford, where he holds the title of Professor of English Literature. Bate was Provost of Worcester College from 2011 to 2019. From 2017 to 2019 he was Gresham Professor of Rhetoric in the City of London. He was knighted in 2015 for services to literary scholarship and higher education. He is also Chair of the Hawthornden Foundation.

Josette Patricia Simon is a British actor. She trained at the Central School of Speech and Drama in London and played the part of Dayna Mellanby in the third and fourth series of the television sci-fi series Blake's 7 from 1980 to 1981. On stage, she has appeared in Royal Shakespeare Company (RSC) productions from 1982, playing Ariel in The Tempest, to 2018 when she was Cleopatra in Antony and Cleopatra. The first black woman in an RSC play when she featured in 1982, Simon has been at the forefront of colour-blind casting, playing roles traditionally taken by white actors, including Maggie, a character that is thought to be based on Marilyn Monroe, in Arthur Miller's After the Fall at the National Theatre in 1990.

Clifford Williams was a Welsh theatre director and stage actor. He was born in Cardiff, Wales, and died in London, England.

<span class="mw-page-title-main">Harriet Walter</span> British actress (born 1950)

Dame Harriet Mary Walter is a British actress. She has performed on stage with the Royal Shakespeare Company, and received an Olivier Award, and nominations for a Tony Award, five Emmy Awards, and a Screen Actors Guild Award. In 2011, Walter was appointed Dame Commander of the Order of the British Empire (DBE) for services to drama.

<i>The Life and Adventures of Nicholas Nickleby</i> (play) Adaptation of Charles Dickens novel

The Life and Adventures of Nicholas Nickleby is an 8½ hour-long adaptation of Charles Dickens’ 1839 novel, performed in two parts. Part 1 was 4 hours in length with one interval of 15 minutes. Part 2 was 4½ hours in length with two intervals of 12 minutes. It was originally presented onstage over two evenings, or in its entirety from early afternoon with a dinner break. Later it was presented on television over four evenings.

<span class="mw-page-title-main">John Barton (director)</span>

John Bernard Adie Barton, CBE, was a British theatre director and teacher whose close association with the Royal Shakespeare Company spanned more than half a century.

Cultural references to <i>Macbeth</i>

The tragic play Macbeth by William Shakespeare has appeared and been reinterpreted in many forms of art and culture since it was written in the early 17th century.

References

  1. "ArtsEmerson Presents Oscar Winner F. Murray Abraham In "The Merchant of Venice"". On Stage Boston. 1 March 2011. Retrieved 14 August 2019.
  2. Robert Shaughnessy (13 May 2013). The Routledge Guide to William Shakespeare. Routledge. p. 152. ISBN   978-1-136-85504-7.
  3. Selway, Mary (10 September 1991). "Migratory talent". The Guardian . p. 35 via ProQuest.
  4. Royal Shakespeare Company (12 October 1989). Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge University Press. p. 107. ISBN   978-0-521-38903-7.
  5. Alycia Smith Howard (2006). Studio Shakespeare: The Royal Shakespeare Company at The Other Place. Ashgate Publishing, Ltd. p. 35. ISBN   978-0-7546-0786-1.
  6. Bruce K. Hanson (10 August 2011). Peter Pan on Stage and Screen, 1904-2010, 2d ed. McFarland. p. 307. ISBN   978-0-7864-8619-9.
  7. Robert Shaughnessy (13 May 2013). The Routledge Guide to William Shakespeare. Routledge. p. 152. ISBN   978-1-136-85504-7.
  8. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Martha W. Driver; Sid Ray (28 April 2009). Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings. McFarland. p. 177. ISBN   978-0-7864-3405-3.
  9. Sarah Oliver (5 November 2012). An A-Z of JRR Tolkien's The Hobbit. John Blake Publishing. p. 1. ISBN   978-1-78219-090-5.
  10. 1 2 3 Stanley Wells (2003). Shakespeare: For All Time. Oxford University Press. p. 10. ISBN   978-0-19-516093-2.
  11. 1 2 William Shakespeare (13 July 2012). As You Like It: A Broadview Internet Shakespeare Edition. Broadview Press. p. 34. ISBN   978-1-77048-347-7.
  12. Nick Clark (31 October 2018). "Exclusive interview with Hayley Atwell: 'I'm proud of my self-doubt, it keeps me vulnerable and questioning'". The Stage. Retrieved 13 August 2019.
  13. Ian Herbert (1981). Who's who in the Theatre: A Biographical Record of the Contemporary Stage. Gale Research Company. p. 30. ISBN   978-0-8103-0235-8.
  14. 1 2 3 4 5 John Wyver (27 June 2019). Screening the Royal Shakespeare Company: A Critical History. Bloomsbury Publishing. pp. 294–. ISBN   978-1-350-00659-1.
  15. 1 2 3 4 Robert Shaughnessy (2018). As You Like it. Oxford University Press. p. 209. ISBN   978-0-7190-8693-9.
  16. The Winter's Tale, Her Majesty's Theatre, Melbourne, VIC, 5 February 1970
  17. 1 2 3 4 Royal Shakespeare Company (28 July 1988). Players of Shakespeare 1: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company. Cambridge University Press. p. 3. ISBN   978-0-521-36817-9.
  18. Royal Shakespeare Company (8 December 2003). Players of Shakespeare 5. Cambridge University Press. p. 212. ISBN   978-0-521-81131-6.
  19. Royal Shakespeare Company (12 October 1989). Players of Shakespeare 2: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge University Press. p. 123. ISBN   978-0-521-38903-7.
  20. 1 2 3 Peter Barnes (4 December 2013). Barnes Plays: 2: Red Noses, The Spirit of Man, Nobody Here But Us Chickens, Sunsets and Glories, Bye Bye Columbus. A&C Black. p. 4. ISBN   978-1-4081-7638-2.
  21. Pascale Aebischer; Kathryn Prince (11 October 2012). Performing Early Modern Drama Today. Cambridge University Press. p. 199. ISBN   978-1-139-78853-3.
  22. 1 2 3 4 5 6 Royal Shakespeare Company (10 December 1998). Players of Shakespeare 4: Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge University Press. pp. 6–15. ISBN   978-0-521-55420-6.
  23. 1 2 Alycia Smith Howard (2006). Studio Shakespeare: The Royal Shakespeare Company at The Other Place. Ashgate Publishing, Ltd. pp. 158–. ISBN   978-0-7546-0786-1.
  24. 1 2 3 Michael D. Friedman (1 November 2015). Titus Andronicus. Manchester University Press. pp. 9–10. ISBN   978-1-5261-0190-7.
  25. Jessica M. Maerz (11 May 2017). Metanarrative Functions of Film Genre in Kenneth Branagh's Shakespeare Films: Strange Bedfellows. Cambridge Scholars Publishing. p. 14. ISBN   978-1-4438-9338-1.
  26. 1 2 3 4 5 6 7 Stanley Wells (28 November 2002). Shakespeare Survey. Cambridge University Press. p. 209. ISBN   978-0-521-52386-8.
  27. 1 2 William Shakespeare (11 August 2005). The Tragedy of King Lear. Cambridge University Press. p. 55. ISBN   978-0-521-84791-9.
  28. 1 2 3 4 5 6 7 8 Stanley Wells (2015). Great Shakespeare Actors: Burbage to Branagh. Oxford University Press. p. 13. ISBN   978-0-19-870329-7.
  29. 1 2 3 "Associate artists". RSC. Retrieved 14 August 2019.
  30. 1 2 William Shakespeare (2000). The Merry Wives of Windsor: Third Series. Cengage Learning EMEA. p. 106. ISBN   1-904271-12-X.
  31. William Shakespeare (2016). The New Oxford Shakespeare: The Complete Works. Oxford University Press. p. 3358. ISBN   978-0-19-959115-2.
  32. 1 2 Royal Shakespeare Company Magazine. Royal Shakespeare Company. 1997. p. 21.
  33. Thomas Middleton; William Rowley (24 March 2014). The Changeling. A&C Black. p. 30. ISBN   978-1-4081-4454-1.
  34. A Midsummer Night's Dream, Adelaide Festival Centre, Adelaide, SA, 1973
  35. Royal Shakespeare Company Magazine. Royal Shakespeare Company. 1997. p. 3.
  36. 1 2 Miguel de Cervantes (1 August 2016). Pedro, the Great Pretender. Oberon Books. p. 7. ISBN   978-1-78319-244-1.
  37. 1 2 3 4 5 6 7 Kenneth Muir (28 November 2002). Shakespeare Survey. Cambridge University Press. p. 8. ISBN   978-0-521-52370-7.
  38. 1 2 3 4 Roger Apfelbaum (2004). Shakespeare's Troilus and Cressida: Textual Problems and Performance Solutions. University of Delaware Press. p. 260. ISBN   978-0-87413-813-9.
  39. 1 2 New York Media, LLC (8 September 1986). New York Magazine. New York Media, LLC. p. 72.
  40. Theatre Record. I. Herbert. 2004. p. 219.
  41. Royal Shakespeare Company (1981). Royal Shakespeare Company: A Complete Record of the Year's Work. RSC Publications. p. 107. ISBN   978-0-9505057-2-5.
  42. 1 2 3 4 5 Andrew James Hartley (2 April 2014). Julius Caesar. Oxford University Press. p. 246. ISBN   978-0-7190-7919-1.
  43. 1 2 3 Jan Macdonald (3 March 1986). New Drama, 1900-14: Harley Granville Barker, John Galsworthy, St-John Hankin, John Masefield. Macmillan International Higher Education. p. 6. ISBN   978-1-349-18132-2.
  44. 1 2 3 4 Peter Nichols (8 May 2014). Nichols Plays: 2: Chez Nous; Privates on Parade; Born in the Gardens; Passion Play; Poppy. A&C Black. p. 93. ISBN   978-1-4081-6193-7.
  45. Katharine Goodland (2010). A Directory of Shakespeare in Performance 1970-1990: Canada and USA. Volume 2. Springer. p. 938. ISBN   978-1-349-60041-0.
  46. Ann Lloyd; Graham Fuller; Arnold Desser (1 January 1983). The Illustrated Who's Who of the Cinema. Orbis Publishing. p. 105. ISBN   978-0-85613-521-7.
  47. 1 2 3 Lois Potter (7 September 2002). Othello. Manchester University Press. p. 220. ISBN   978-0-7190-2726-0.
  48. 1 2 3 "A Midsummer Night's Dream (1999)". BBC. Retrieved 13 August 2019.
  49. Theatre Record. I. Herbert. 2001. p. 259.
  50. 1 2 Stanley Wells (28 November 2002). Shakespeare Survey. Cambridge University Press. p. 183. ISBN   978-0-521-52379-0.
  51. 1 2 3 Ian Herbert; Christine Baxter; Robert E. Finley (1981). Who's who in the Theatre. Pitman. p. 64. ISBN   9780810302365.
  52. 1 2 3 4 5 Emily C. Bartels; Emma Smith (11 July 2013). Christopher Marlowe in Context. Cambridge University Press. pp. 24–26. ISBN   978-1-107-01625-5.
  53. Ian Herbert; Christine Baxter; Robert E. Finley (1981). Who's who in the Theatre. Pitman. p. 111. ISBN   9780810302365.
  54. Garry Jenkins (1994). Daniel Day-Lewis: The Fire Within. Sidgwick & Jackson. p. 119. ISBN   978-0-283-06238-4.
  55. 1 2 3 "The Provoked Wife and Venice Preserved Casting Announced". RSC. Retrieved 13 August 2019.
  56. 1 2 Keith Parsons; Pamela Mason (1 October 1995). Shakespeare in performance. Salamander. p. 187. ISBN   978-0-517-14091-8.
  57. 1 2 Stewart R Craggs (8 May 2018). Lennox Berkeley: A Source Book: A Source Book. Taylor & Francis. p. 102. ISBN   978-1-351-78153-4.
  58. 1 2 3 4 5 6 7 Martha W. Driver; Sid Ray (10 January 2014). Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings. McFarland. p. 191. ISBN   978-0-7864-9165-0.
  59. 1 2 3 4 5 Stanley Wells (28 November 2002). Shakespeare Survey. Cambridge University Press. p. 10. ISBN   978-0-521-52379-0.
  60. Pascale Aebischer; Kathryn Prince (11 October 2012). Performing Early Modern Drama Today. Cambridge University Press. p. 200. ISBN   978-1-139-78853-3.
  61. William B. Toole (1 January 1966). Shakespeare's Problem Plays: Studies in Form and Meaning. Macmillan International Higher Education. p. 81. ISBN   978-0-230-62826-7.
  62. 1 2 3 "Past Productions: Macbeth" . Retrieved 14 August 2019.
  63. 1 2 Philip C. Kolin (1998). Tennessee Williams: A Guide to Research and Performance. Greenwood Publishing Group. p. 104. ISBN   978-0-313-30306-7.
  64. Theatre Record. I. Herbert. 2001. p. 260.
  65. Steven Adler (2001). Rough Magic: Making Theatre at the Royal Shakespeare Company. SIU Press. p. 219. ISBN   978-0-8093-2377-7.
  66. Colin Chambers (24 February 2004). Inside the Royal Shakespeare Company: Creativity and the Institution. Routledge. p. 41. ISBN   978-1-134-61631-2.
  67. Peter Holland (2008). Shakespeare, Sound and Screen. Cambridge University Press. p. 356. ISBN   978-0-521-80888-0.
  68. Ada Ferrar in Andrea (1888) - Royal Shakespeare Company database
  69. 1 2 3 Stanley Wells (28 November 2002). Shakespeare Survey. Cambridge University Press. p. 152. ISBN   978-0-521-52384-4.
  70. 1 2 3 Royal Shakespeare Company (1981). Royal Shakespeare Company: A Complete Record of the Year's Work. RSC Publications. pp. 49–54. ISBN   978-0-9505057-2-5.
  71. Nick Dear (13 November 2014). Nick Dear Plays 1: Art of Success; In the Ruins; Zenobia; Turn of the Screw. Faber & Faber. p. 118. ISBN   978-0-571-31843-8.
  72. Robert Shaughnessy (13 May 2013). The Routledge Guide to William Shakespeare. Routledge. p. 127. ISBN   978-1-136-85503-0.
  73. Royal Shakespeare Company (1981). Royal Shakespeare Company: A Complete Record of the Year's Work. RSC Publications. p. 103. ISBN   978-0-9505057-2-5.
  74. Twelfth Night, Her Majesty's Theatre, Adelaide, SA, 16 March 1970
  75. Keith Osborn (27 June 2012). Something Written in the State of Denmark: An Actor's Year with the Royal Shakespeare Company: An Actor's Year with the Royal Shakespeare Company. Oberon Books. p. 68. ISBN   978-1-84943-281-8.
  76. John Russell Brown; Kevin Ewert (2012). The Routledge Companion to Actors' Shakespeare. Routledge. p. 74. ISBN   978-0-415-48302-5.
  77. 1 2 3 Theatre Record. I. Herbert. 2007. p. 641.
  78. 1 2 Theatre Record. I. Herbert. 1999. p. 10.
  79. 1 2 3 Shakespeare Survey: An Annual Survey of Shakespeare Studies and Production. Cambridge University Press. 2005. p. 335. ISBN   978-0-521-85074-2.
  80. RSC Magazine. Royal Shakespeare Company. 1995. p. 63.
  81. "Past Productions: Taming of the Shrew" . Retrieved 14 August 2019.
  82. Miranda Seymour (29 August 2013). Noble Endeavours: The life of two countries, England and Germany, in many stories. Simon and Schuster. p. 2. ISBN   978-1-84737-826-2.
  83. 1 2 3 4 5 Pascale Aebischer; Kathryn Prince (11 October 2012). Performing Early Modern Drama Today. Cambridge University Press. p. 186. ISBN   978-1-139-78853-3.
  84. 1 2 3 4 "Past Productions: Richard III" . Retrieved 14 August 2019.
  85. Susanna Rustin (11 February 2017). "Tamsin Greig as Malvolia is good for equality, and for raising standards in our theatre". The Guardian. Retrieved 14 August 2019.
  86. 1 2 3 4 5 Barbara Hodgdon (14 July 2014). The End Crowns All: Closure and Contradiction in Shakespeare's History. Princeton University Press. p. 12. ISBN   978-1-4008-6176-7.
  87. 1 2 William Shakespeare (5 September 2008). A Midsummer Night's Dream. Macmillan International Higher Education. p. 174. ISBN   978-1-137-00414-7.
  88. Spotlight - Issue 130, Part 1 - Page 372
  89. Twelfth Night, Theatre Royal (1875-1972), Sydney, NSW, 30 March 1970
  90. The Doctor Who Cuttings Archive
  91. The Winter's Tale, Her Majesty's Theatre, Adelaide, SA, 9 March 1970
  92. Sally Williams (2 July 2017). "Jane Horrocks: 'I've gained confidence in myself since turning 50'". The Telegraph. Retrieved 14 August 2019.
  93. 1 2 C. S. Smith (13 October 2014). The New York Times Theater Reviews 1997-1998. Routledge. p. 305. ISBN   978-1-136-75034-2.
  94. Alexander Leggatt (2 September 2003). Shakespeare's Political Drama: The History Plays and the Roman Plays. Routledge. p. 254. ISBN   978-1-134-95603-6.
  95. Sheridan Morley (1974). Theatre. Hutchinson. ISBN   978-0-09-122290-1.
  96. Matric Writing Coach: Homepage
  97. 1 2 3 William Shakespeare (19 February 2004). Twelfth Night Or What You Will. Cambridge University Press. p. 9. ISBN   978-0-521-53514-4.
  98. Carol Chillington Rutter (13 November 2007). Shakespeare and Child's Play: Performing Lost Boys on Stage and Screen. Routledge. p. 128. ISBN   978-1-134-21668-0.
  99. The Times, 26 November 2015, page 72
  100. Martha W. Driver; Sid Ray (10 January 2014). Shakespeare and the Middle Ages: Essays on the Performance and Adaptation of the Plays with Medieval Sources or Settings. McFarland. p. 191. ISBN   978-0-7864-9165-0.
  101. 1 2 3 4 Stanley Wells (16 October 2003). Shakespeare Survey. Cambridge University Press. p. 12. ISBN   978-0-521-54184-8.
  102. Paterson Joseph (5 April 2018). Julius Caesar and Me: Exploring Shakespeare's African Play. Bloomsbury Publishing. ISBN   978-1-350-01120-5.
  103. "Alexis Kanner". The Independent. 26 December 2003. Retrieved 13 August 2019.
  104. William Shakespeare (1 February 2009). The Oxford Shakespeare: Julius Caesar. Oxford University Press, USA. p. 69. ISBN   978-0-19-953612-2.
  105. Jeffrey Masten; Wendy Wall (12 July 2005). Renaissance Drama 33. Northwestern University Press. p. 142. ISBN   978-0-8101-2199-7.
  106. Royal Shakespeare Company (28 July 1988). Players of Shakespeare 1: Essays in Shakespearean Performance by Twelve Players with the Royal Shakespeare Company. Cambridge University Press. p. 164. ISBN   978-0-521-36817-9.
  107. Tristram Fane Saunders (10 May 2016). "Jude Law returns to the Barbican for production of 1943 film Obsession". The Telegraph. Retrieved 13 August 2019.
  108. 1 2 Unhae Park Langis (26 May 2011). Passion, Prudence, and Virtue in Shakespearean Drama. A&C Black. p. 50. ISBN   978-1-4411-8745-1.
  109. Kathy Henderson (1985). First stage: profiles of the new American actors. Quill New York. p. 77. ISBN   978-0-688-04700-9.
  110. 1 2 3 Herbert R. Coursen (1995). Reading Shakespeare on Stage. University of Delaware Press. pp. 272–3. ISBN   978-0-87413-538-1.
  111. Encyclopaedia Britannica, Inc. (1 March 2011). Britannica Book of the Year 2011. Encyclopaedia Britannica, Inc. p. 96. ISBN   978-1-61535-500-6.
  112. Robert Shaughnessy (13 May 2013). The Routledge Guide to William Shakespeare. Routledge. p. 152. ISBN   978-1-136-85504-7.
  113. Linda S. Hubbard; Sara Steen; Owen O'Donnell (15 September 1989). Contemporary Theatre, Film and Television. Gale. p. 242. ISBN   978-0-8103-2070-3.
  114. Robert Shaughnessy (2018). As You Like it. Oxford University Press. p. 8. ISBN   978-0-7190-8693-9.
  115. Terry Stoller (15 August 2013). Tales of the Tricycle Theatre. A&C Black. p. 71. ISBN   978-1-4081-8380-9.
  116. 1 2 Nick Asbury (22 June 2009). Exit Pursued by a Badger: An Actor's Journey through History with Shakespeare: An Actor's Journey Through History with Shakespeare. Oberon Books. p. 143. ISBN   978-1-84943-683-0.
  117. 1 2 3 4 "Royal Shakespeare Company members". BBC. Retrieved 14 August 2019.
  118. "From soccer to stage", Sunday Mercury , 12 May 1974 (pg.16)
  119. Stanley Wells (28 November 2002). Shakespeare Survey. Cambridge University Press. p. 9. ISBN   978-0-521-52382-0.
  120. Louise Jury (24 July 2002). "Leo McKern, the actor who made Rumpole a lawyer we could love, dies at 82". The Independent. Retrieved 13 August 2019.
  121. Richard III, The State Theatre, Melbourne, VIC, 21 May 1986
  122. Twelfth Night, Her Majesty's Theatre, Melbourne, VIC, 16 February 1970
  123. Playbills|url=https://www.playbill.com/person/niall-padden-vault-0000049584
  124. Ian Herbert; Christine Baxter; Robert E. Finley (1981). Who's Who in the Theatre: Playbills. Gale Research Company. p. 1. ISBN   978-0-8103-0236-5.
  125. Mary Hammond (3 March 2016). Charles Dickens's Great Expectations: A Cultural Life, 1860–2012. Routledge. p. 219. ISBN   978-1-317-16825-6.
  126. Royal Shakespeare Company Magazine. Royal Shakespeare Company. 1990. p. 24.
  127. Playbill. Playbill, Incorporated. December 1974.
  128. 1 2 Eric Johns (1973). Theatre Review. W. H. Allen Co. p. 146. ISBN   9780491012317.
  129. Sarah Hatchuel; Nathalie Vienne-Guerrin (2009). Shakespeare on Screen: The Roman Plays. Publication Univ Rouen Havre. p. 232. ISBN   978-2-87775-842-0.
  130. Catherine M. S. Alexander; Stanley Wells; Professor of Shakespeare Studies and Director of the Shakespeare Institute Stanley Wells; Alexander Catherine M. S. (21 December 2000). Shakespeare and Race. Cambridge University Press. p. 11. ISBN   978-0-521-77938-8.
  131. Thomas Middleton; William Rowley (24 March 2014). The Changeling. A&C Black. p. 30. ISBN   978-1-4081-4454-1.
  132. John Russell Brown; Kevin Ewert (2012). The Routledge Companion to Actors' Shakespeare. Routledge. p. 187. ISBN   978-0-415-48302-5.
  133. E. Nesbit; William Shakespeare (16 October 1997). The Best of Shakespeare:Retellings of 10 Classic Plays. Oxford University Press, USA. p. 109. ISBN   978-0-19-513213-7.
  134. Alycia Smith Howard (2006). Studio Shakespeare: The Royal Shakespeare Company at The Other Place. Ashgate Publishing, Ltd. p. 19. ISBN   978-0-7546-0786-1.
  135. Mary Zenet Maher (1992). Modern Hamlets and Their Soliloquies . University of Iowa Press. pp.  135. ISBN   978-1-58729-136-4.
  136. Steven, Alasdair (2011-04-19). "Jon Cedar, actor, dies at 80". The Scotsman . Retrieved 2011-05-03.
  137. Carole Zucker (1999). In the Company of Actors: Reflections on the Craft of Acting. Psychology Press. pp. 152–3. ISBN   978-0-415-92545-7.
  138. James Wyllie (8 January 2019). "Obituary: Prominent sci-fi actor William Morgan Sheppard". The Press and Journal. Retrieved 14 August 2019.
  139. Lionel Carson (1969). The Stage Year Book. Stage Offices. p. 219.
  140. A Midsummer Night's Dream, Her Majesty's Theatre, Melbourne, VIC, 1973
  141. Russell Hoban; Tamsin Oglesby (15 November 2012). The Mouse and His Child. Oberon Books. p. 7. ISBN   978-1-84943-716-5.
  142. Tim Masters (27 January 2015). "Critics' Circle honours Mark Strong's stage return". BBC. Retrieved 13 August 2019.
  143. Royal Shakespeare Company (1981). Royal Shakespeare Company: A Complete Record of the Year's Work. RSC Publications. p. 79. ISBN   978-0-9505057-2-5.
  144. James Baldock (12 May 2018). "The very best Catherine Tate characters to celebrate her 50th birthday". Metro. Retrieved 13 August 2019.
  145. WTIU. WTIU. 1998. p. 52.
  146. Anthony Slide (1996). Some Joe You Don't Know: An American Biographical Guide to 100 British Television Personalities. Greenwood Publishing Group. p. 236. ISBN   978-0-313-29550-8.
  147. Sally Ledger; Holly Furneaux (2 June 2011). Charles Dickens in Context. Cambridge University Press. p. 61. ISBN   978-0-521-88700-7.
  148. Royal Shakespeare Company (8 December 2003). Players of Shakespeare 5. Cambridge University Press. p. 212. ISBN   978-0-521-81131-6.
  149. Katharine Goodland (2010). A Directory of Shakespeare in Performance 1970-1990: Canada and USA. Volume 2. Springer. p. 3. ISBN   978-1-349-60041-0.
  150. Harris M. Lentz III (20 May 2008). Obituaries in the Performing Arts, 2007: Film, Television, Radio, Theatre, Dance, Music, Cartoons and Pop Culture. McFarland. p. 399. ISBN   978-0-7864-3481-7.
  151. 1 2 Colin Chambers (24 February 2004). Inside the Royal Shakespeare Company: Creativity and the Institution. Routledge. p. 45. ISBN   978-1-134-61631-2.
  152. "Ruby Wax to be awarded OBE for mental health work". BBC. 27 April 2015. Retrieved 13 August 2019.
  153. Colin Chambers (24 February 2004). Inside the Royal Shakespeare Company: Creativity and the Institution. Routledge. p. 176. ISBN   978-1-134-61631-2.
  154. Theatre World Annual (London): A Pictorial Review of West End Productions with a Record of Plays and Players. Rockliff. 1965. p. 69.
  155. Vicki Ann Cremona; Peter Eversmann; Hans van Maanen (2004). Theatrical Events: Borders, Dynamics, Frames. Rodopi. p. 184. ISBN   90-420-1068-1.
  156. Theatre Record. I. Herbert. 2007. p. 958.
  157. William Demastes (22 November 2012). The Cambridge Introduction to Tom Stoppard. Cambridge University Press. p. 7. ISBN   978-1-107-02195-2.
  158. Bernice W. Kliman (8 April 2004). Macbeth: Second Edition. Manchester University Press. p. 89. ISBN   978-0-7190-6229-2.
  159. Jackson, Russell (1997). "Shakespeare in Stratford-upon-Avon: The Royal Shakespeare Company's". Shakespeare Quarterly. 48 (2). [Folger Shakespeare Library, The Shakespeare Association of America, Inc., Johns Hopkins University Press, George Washington University]: 208–215. ISSN   0037-3222. JSTOR   2871280 . Retrieved 2024-04-28.
  160. "EARLY END FOR MASS AS TOUR CLOSES", The Stage , 25 May 1989 (pg.1)